Word: paint
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Dates: during 1970-1970
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There was a pair of old loafers, worn within a day of falling apart and mounted as casually as if their owner had just stepped out of them. And a green suit, stiff with splattered paint and age, its trousers nothing but ribbons. And bathroom sinks, garden tools, paint brushes, and the names of hundreds of people crammed onto one giant autograph book of a canvas. Last week, when Manhattan's Whitney Museum opened a retrospective exhibition of Jim Dine, 34, it was obvious that Dine's "pocket of felt objects" had spilled many times...
...love of objects, Dine figures, goes back to his boyhood in Cincinnati, where he worked after school in his father's hardware store. "I was completely bored by the selling," he recalls, "but in my boredom I found that daydreaming amongst objects of affection was very nice. Commercial paint-color charts were real jewel lists for me." After majoring in painting at Ohio University in Athens, he set off for New York in 1959. Happenings were what was happening, and Dine was soon in the thick of them. "Happenings were good because they...
Next he began picking up objects and juxtaposing them with the painted canvas. His use of the object can be seen as something of a contemporary parallel to the 19th century American still-life painters Peto and Harnett, who in their trompe-ľoeil arrangements of everydayobjects anticipated many of the same concerns that preoccupied the new realists of the 1960s. One Dine's most successful "combines" is a 1962 work in which an actual lawnmower is mounted in front of the canvas. Green paint clings to the blades like bits of fresh-cut grass, while the handle guides...
...Dine saw an advertisement for a bathrobe in the New York Times. "There was nobody in the bathrobe," he explains, "but when I saw it, it looked like me." He made a series of self-portraits based on that image, including the Double Isometric Self-Portrait (Serape). Before the painted canvas, he hung wire plumb lines, which cast shadows on the bathrobes and thus give them a curious kind of life. This tense and intentional counterpoint between hard and soft materials, object and paint, reality and illusion can be traced through virtually all of his works...
...balding man in his 50s, introduces himself. La Costa tones up such famous figures as Rod Steiger, Ambassador John Lodge, NBC President Julian Goodman. Gore Vidal, Kirk Douglas, Senator Jacob Javits, Sandy Koufax, President Gustavo Diaz Ordaz of Mexico-and you end up in the stew with a paint salesman from Poughkeepsie. "They really pamper you," he says, as a gentleman technician dries his back. "It's just one joy after another...